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Description
Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is a weather-related phenomenon caused by the horizontal refraction of sunlight in the upper atmosphere. This refraction creates the illusion of three suns above the horizon, and is often accompanied by a bright halo called the circumzenithal arc. The halo is caused by light bending at 22° as it passes through hexagonal ice crystals. Consequently, the numbers six and 22 are important figures, and have been encoded into this piece in various ways.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
ContributorsMitton, Stephen LeRoy (Author) / DeMars, James (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
This dissertation describes the public sphere that coalesced in the Soviet jazz scene during Josef Stalin’s reign. Scholars debate the extent to which Soviet citizens, especially under Stalin, were coerced into cooperating with the regime through terror; willingly cooperated with the regime out of self-interest; or re-aligned their speech, behavior, and thoughts to conform to Bolshevik ideology and discourse. In all cases, citizens were generally unable to openly express their own opinions on what Soviet society should look like. In this dissertation, I attempt to bridge this gap by analyzing the diverse reactions to jazz music in Josef Stalin’s Soviet Union. I argue that audience engagement with jazz and discussions about the genre in the Soviet press and elsewhere were attempts to grapple with bigger questions of public concern about leisure, morality, ethnicity, cosmopolitanism and patriotism in a socialist society. This jazz public sphere was suppressed in the late 1940s and early 1950s because of Cold War paranoia and fears of foreign influences in Soviet life. In its place, a counterpublic sphere formed, in which jazz enthusiasts expressed views on socialism that were more open and contradictory to official norms. This counterpublic sphere foreshadowed aspects of post-Stalinist Soviet culture. To support my arguments, I employ archival documents such as fan mail and censorship records, periodicals, memoirs, and Stalin-era jazz recordings to determine the themes present in jazz music, how audiences reacted to them, and how these popular reactions overlapped with those of journalists, musicologists, bureaucrats, and composers. This project expands our understanding of when and where public spheres can form, challenges top-down interpretations of Soviet cultural policy, and illuminates the Soviet Union and Russia’s ambivalent relationship with the West and its culture.
ContributorsBeresford, Benjamin J. (Author) / Von Hagen, Mark (Thesis advisor) / Manchester, Laurie (Committee member) / Schmelz, Peter (Committee member) / Moore, Aaron (Committee member) / Arizona State University (Publisher)
Created2017
ContributorsHsu, Gabrielle (Performer) / Kierum, Caitlin (Performer) / Song, Yiqian (Performer) / Fox, Matt (Performer) / Lougheed, Julia (Performer) / Jones, Evelyn (Performer) / Miller, Isaac (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-14
ContributorsMoonitz, Olivia (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-13
ContributorsAnderle, Jeff (Performer) / Wegehaupt, David (Performer) / Bennett, Joshua (Performer) / Clements, Katrina (Performer) / Dominguez, Vincent (Performer) / Druesedow, Libby (Performer) / Englert, Patrick (Performer) / Liang, Jack (Performer) / Moonitz, Olivia (Performer) / Ruth, Jeremy (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-09
ContributorsNeidermayer, Tyler (Performer) / Karam, Andrea Luque (Performer) / White, Jonathan (Performer) / Manka, Andrew (Performer) / Chaston, Aubrey (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-31
ContributorsSpring, Robert (Performer) / Gardner, Joshua (Performer) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Micklich, Albie (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / Smith, J. B., 1957- (Performer) / Ryan, Russell (Contributor) / ASU Library. Music Library (Publisher)
Created2018-09-16
ContributorsZhu, Shuang (Performer) / Spring, Robert (Performer) / Zhang, Aihua (Performer) / Skinner, Wesley (Performer) / Jiang, Zhou (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-09
Description
Perhaps by some ingrained sense of human preparedness, phobias are an outlier in the world of conditioning. Again and again, they are highlighted as the only thing which avoidance makes worse, rather than alleviates. My own fear of insects had reached its most severe level just as I began learning about phobias, and avoidance, in my undergraduate psychology courses. There, I learned that avoidance of the phobic stimulus \u2014 in my case, insects \u2014 seemed to be a fundamental element of maintaining a phobia, and I was more than guilty of it. Following this realization, I endeavored into what I would later come to call Stimulus Confrontation: A self-designed therapeutic course of action to overcome my fear. This thesis, then, is the record of this project. It weaves together my scholarly research on phobias with my own personal narrative concerning the employment of Stimulus Confrontation, beginning with the etymology and proposed etiologies of phobias, followed by an overview of contemporary treatment options available and a recounting of Stimulus Confrontation as applied to my own phobia. Told from her own perspective, English writer and journalist Jenny Diski's book, What I Don't Know About Animals, tells of her own arachnophobia, and includes an honest account of the fear and anxiety it caused for her, as well as her own journey to overcome it. Like my own, Diski's phobia \u2014 arachnophobia \u2014 had come to affect her everyday life. Prior to seeking treatment for her fear at the age of 58, Diski too had learned to avoid the thing which she so feared. Inspired by What I Don't Know About Animals, the personal anecdotes I have included throughout this thesis serve to elaborate upon my personal experience with my own insectophobia, and the cessation of avoidance that led to substantial progress in overcoming my fears. Throughout this thesis, I refer to this cessation of avoidance as Stimulus Confrontation, with the intention that following the same process I did may benefit others in overcoming their own specific phobias.
ContributorsKavanaugh, Ashley Marie (Author) / Gruber, Diane (Thesis director) / Lewis, Stephen (Committee member) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2015-12